Susan’s ‘SCREENPLAY SUBMISSIONS: Is Your Script Really Ready?’ for SCRIPT MAGAZINE

April 8, 2016 / sucity / Comments Off

SCREENPLAY SUBMISSIONS: Is Your Script Really Ready?

By: Susan Kouguell | April 8, 2016

SCREENPLAY SUBMISSIONS: Is Your Script Really Ready? by Susan Kouguell | Script Magazine #scriptchat #screenwriting

The Truth

Are you really telling yourself the truth? Be honest — when you are considering sending out your script to film executives, agents, competitions, and so on — are you thinking that your screenplay “is good enough as is” OR “I can’t look at it anymore, I’ll just send it out”? If that’s what you’re thinking (and you’re not alone) — then you know in your gut what the answer is. The truth is this — your script definitely needs another rewrite or several more rewrites.

The Consequences

Here are the tough facts. Once you submit your script to a company and it’s been rejected, the likelihood of that company reading the script once again even after a brilliant rewrite is nearly impossible. It’s challenging enough to get a screenplay into the hands of film industry folks, so don’t blow your chances by being impatient with your writing process.

The Facts

Every writer is different. Some screenwriters can hammer out a brilliant script in just a few days and a couple of drafts while others take years and dozens upon dozens of drafts. The amount of drafts screenwriters need to complete a script is no measure of talent; a script takes the time it needs to be good.

Get Feedback from Truth Tellers

Before you submit your screenplay, get feedback from people who will tell you the truth. And nothing but the truth. So, giving it to people who might sugarcoat their critiques — such as family members and best friends, who probably want to remain on good terms with you, is probably not your best choice. Knowing what to ask when receiving feedback will help you stay focused and enable you to gain more objectivity with your screenplay.

20 Questions to Ask When Receiving Feedback

Did you care about the story and characters?
Does my plot make sense?
Does my script have a solid three-act structure?
Are the stakes clear?
Is the genre clear and consistent throughout the script?
What elements made the story engaging? Were there places you lost interest or felt were implausible?
Is the subplot (or subplots) overpowering the main plot?
Are the scenes building to a climax?
Have I paid off actions that I set up?
Does the dialogue ring true for each of my characters or does it feel interchangeable?
Is this script a page-turner?
Is each scene advancing the plot forward?
Are there scenes that drag or ramble?
Are my main characters’ journeys clear?
Do any of the characters need to be further developed?Are my characters memorable?
Are my characters’ objectives, motivations, obstacles, and journeys clear and compelling?
Are the characters multi-dimensional?
Did you find the story or characters predictable in a way that was detrimental to the script?
Are the action paragraphs an interesting read or are they too dense?
Is this script a page-turner?
Is each scene advancing the plot forward?
Are there scenes that drag or ramble?
Are my main characters’ journeys clear?
Do any of the characters need to be further developed?
Are my characters memorable?
Are my characters’ objectives, motivations, obstacles, and journeys clear and compelling?
Are the characters multi-dimensional?
Did you find the story or characters predictable in a way that was detrimental to the script?
Are the action paragraphs an interesting read or are they too dense?
The Truth Be Told – Final TipsOnce you have implemented feedback and feel absolutely certain that your script is absolutely ready to be submitted, you need to do the following:
- Have someone else proofread your script one last time. Formatting errors will greatly risk your script getting rejected.
- Register your screenplay with the Writers Guild of America in order to project yourself from theft of ideas. Most film industry folks will not accept your script if it is not registered.
- Whether submitting to a company, agency or script competition, make sure that you carefully follow all submission guidelines and submit a script only when it has been requested.
Remember, if you are tired, bored, frustrated, or (fill in the adjective) of your screenplay—so will the agent, manager, producer, script competition reader, and all the film industry folks to whom you are submitting your project. Your script is your calling card to the film industry so always submit your absolutely best screenplay!

More articles by Susan Kouguell

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What Producers are Really Thinking and Talking About (for SCRIPT MAGAZINE)

November 4, 2015 / sucity / Comments Off

Highlights from the ‘Produced By New York 2015′ Conference

Selling a screenplay is not for the faint of heart. It takes a brilliant and well-crafted screenplay, as well as perseverance, moxie, and sometimes just good old-fashioned luck to get your work read and considered for production. While the odds of getting a script made are indeed staggering, knowing how the film industry works will give you an edge over the competition.

Here are some highlights and insights from the ‘Produced By NY’ Conference held on October 24, 2015 at the Time Warner Center in New York.

The Panel: The Changemakers: Tactics for Equality and Diversity in Film and Television

Mynette Louie offered this advice: “Learn the marketplace and learn the statistics. Read ‘The Ms. Factor: The Power of Female Driven Content Toolkit.’ It puts all the statistics together about women-driven films. It will help you pitch your projects. It shows all the numbers that are in support of women driven films. Be armed with this. If you’re armed with this, you have a better chance of getting your film made.”

In response to an audience member’s question about the viability of making films in Boston Charles D. King stated:

“You don’t have to necessarily live in Los Angeles or New York, there are productions happening in various cities, like Atlanta. There are those times you go to those places like New York and Los Angeles for meetings. Get incentives where people are learning production. You can be that person, build that infrastructure. Be where you can be as creative as you can be. Cultivate and build relationships.”

Moderator Michael Skolnik asked How to Get Away with Murder creator, producer, and writer Pete Nowalk: When Viola Davis takes off her wig what did you hear on social media, from your friends, and how does that affect you as an artist?

Pete Nowalk: “I’m a white guy. I didn’t know what it would mean or represent. There is something about the open-heartedness of collaboration and listening to a person of color and a woman, and it helps us. It’s partly Viola’s performance. She knew and I didn’t know what taking off the wig meant. I didn’t know how personal that is.”

Effie T. Brown jumped in: “It showed Anneliese taking off the armor, it meant being a strong woman and vulnerable. That’s me reflected. It meant the world to me.”

Nowalk: “I didn’t know she was wearing fake eyelashes. I didn’t know.”

Brown: “Black women knew.”

Nowalk: “I’m proud of lead actress Viola Davis. We created the role together of Annalise Keating. The character is not perfect. The same is true for the gay character, who is also not perfectly perfect. That’s not real or interesting. Viola plays the anti-hero – a character which men always do. She’s a character people love to hate. It’s so nice not to write perfect boring people.”

Lindsay Taylor Wood: “It’s important to know how to create a character responsibly. With Pete (Nowalk) it’s ability to ask for input. Those types of conversations are necessary to make sure you’re honoring the character you want to write, and also writing responsibility and engaging people responsibly.”

The Panel: The State of Producing

Moderator Lucchesi asked: What inspires your creations?

Donna Gigliotti: “I think about strong women all the time. As a producer I ask myself: What am I interested in and is there a market? Men who run studios don’t think there’s a market for women-driven projects but that’s not true.”

Meryl Poster: “For ‘Girlfriends Guide to Divorce’ – yes, I’m happily divorced and have two beautiful children — I did draw from some personal experience; the good side of divorce, dating and sex. I’m working now on a project that takes place in the 1970s garment industry, which my father worked in and my mother was a showroom model. I think about life experiences and read a lot of magazines and newspapers.”

Paula Weinstein: “It’s hard for me to fall in love with a script until I find that social component that drives the characters; the moral center of it. I love a good love story but it’s nice when it has a conflict, a reason behind it. It takes a long time to get a movie made. It’s taken 14 years to get Heart of the Sea made. You have to find something that drives you to obsess about it, long after your first encounter with that idea.”

“Here’s the thing about producing – you have to start at square one with every director and gain his or her trust, and you have to earn the right to be in the cutting room in the end and have some say.”

“You better love this (producing) it’s your only source of your ego gratification because it ain’t coming from anywhere else.”

The panel: Startups for Producers: Building Your Media Empire from VC Funding to Achieve Your Vision

The speakers agreed on the vital importance of knowing the landscape and learning how to reach different audiences.

Karol Martesko-Fenster: “Apart from building audience, it helps content creators to fine tune what they’re doing. If you can’t articulate what you’re doing in the short format that you have on Indiegogo or Kickstarter, for example, and not present something visually compelling, it’s not going to resonate.

The speakers agreed on the vital importance of knowing the landscape and learning how to reach different audiences.

Karol Martesko-Fenster: “Apart from building audience, it helps content creators to fine tune what they’re doing. If you can’t articulate what you’re doing in the short format that you have on Indiegogo or Kickstarter, for example, and not present something visually compelling, it’s not going to resonate.

I would start the conversation with writers: What story do you want to tell? Who do you want to hear or see this film? And then figure out the distribution landscape and work my way backwards to then how to fund it on multi-platforms so each story can live on almost any platform you want.

The direct to audience component is critical. You as content creators and IP owners are able to reach audiences more efficiently. This is true for short form and long form content. It’s a critical part of the business. I ask writers to think about A) their audience when writing; and B) to envision where their audience lives and how to reach them. There are so many ways to do that these days. You don’t need an aggregator if you have a film to get on digital platforms. That is a significant change. There are there or four companies that allow you as a content creator to get your long form films on iTunes, Netflix and Amazon without any intermediary. Think about your distribution landscape and how you’re going to reach that audience when you’re pitching or looking for that investor.”

It’s vital to target the production companies, studios, and talent (actors, directors, producers) that are the right fit for your script. Don’t submit your screenplay unless it’s absolutely ready to be considered, know what your story is really about, and who your potential audience is.

SELL YOUR SPEC SCRIPT

May 26, 2015 / sucity / Comments Off

Ten Steps to Selling Your Spec Script

by Susan Kouguell

I know, I know, I know. I’ve heard it all before. “Selling a script is impossible. It just doesn’t happen. I don’t know anyone in the film business so I have no chance at all. It just isn’t fair. I’m just not a lucky person.”

Well, selling a screenplay does happen. But – (here it comes) – truth be told, selling a script is like winning the lottery. Some people do win the lottery and some writers do sell their scripts.

Keep your sanity! Remain focused! Remember that your screenplay has three potential goals:

1) to sell

2) to get optioned and/or produced

3) to serve as a writing sample for future work

So, here are ten steps to selling your spec script…

1. Write a great script. Okay, this sounds obvious, but often my Su-City Pictures’ clients and students have said to me, “If this awful movie I just saw was actually made, why should I work so hard on my script?” The answer is this: the competition and odds are indeed staggering, so put your best work out there. Your script is your calling card and it reflects your writing talent. Your script should demonstrate that you know the craft – this means it should have a strong voice, developed characters, solid structure, and follow the genre conventions. It’s nearly impossible to resubmit a rewrite of the same script to an agent and/or company once that script has been rejected.

2. Write an attention-grabbing query letter. Research and query production companies, studios and talent (actors, directors, producers) that are a good match for your script.

3. Compose a strong synopsis. If film industry folks respond positively to your query, you may be then asked to send a one-page synopsis with or without your script.

4. Prepare a great pitch. Once an agent, manager, production company and/or studio has read and liked your script, you may be called in to meet with them at which time you will be asked to pitch. There are other opportunities to pitch such as pitch festivals.

5. Network. You’ve heard the joke: “What’s the best way to Carnegie Hall? … Practice. Practice. Practice.” What’s the best way to break into the film business? “Network. Network. Network.” Writing is solitary, but the film industry and getting your script made into a movie is all about whom you know and the people you meet. No matter where you live, find a way to make personal contacts with industry professionals. Attending script conferences, workshops, and film festivals are good ways to make connections, as well as social media.

6. Educate yourself about the film business. Being savvy about the film industry makes you more appealing to potential agents, production companies and/or studios. Keep up-to-date by reading the trades, and screenwriting and film publications. This is a good way to learn who’s looking for what in order to help you target the right people for your project.

Susan’s Screenwriter’s Utopia: A Look Back at THE BAD AND THE BEAUTIFUL and Looking into the Future of Your Collaborations

December 6, 2014 / sucity / Comments Off

BARTLOW
I know the legend, Jonathan Shields,
the man will do anything to get what he
wants…Shields Pictures Incorporated.
Well, I’m flattered you want me, and
bitter you got me. Where do I start?

SHIELDS
Just read these scripts, see how it’s
done, rough out a story line, and
then we’ll get to work. And don’t worry,
some of the best movies are made by
people working together who
hate each other’s guts.

BARTLOW
Then we should make a great movie.

SHIELDS
I usually do.

BARTLOW
What about your last two?

SHIELDS
I like ’em.

This excerpt from the Academy Award-winning screenplay by Charles Schnee from the 1952 film The Bad and the Beautiful directed by Vincente Minnelli, underscores the stereotypical –and frankly, the often not so stereotypical relationships between screenwriters and their producers and directors. (The Bad and the Beautiful offers a behind-the-scenes look into movie-making and Hollywood; the title refers to the antagonist, the unscrupulous producer Jonathan Shields — The “Bad” and the protagonist “the Beautiful” starlet Georgia Lorrison.)

Hopefully your collaborations and work relationships with producers and directors will not be tumultuous and fraught with conflict as with the fictional screenwriter Bartlow and antagonist Shields.

The Honeymoon

The initial meetings with producers and directors can be filled with champagne and caviar, and congratulatory pats on the back on everyone’s brilliance, celebrating the future of breaking box office records and Oscar wins. But when the champagne and caviar are polished off, the reality of the hard work is ahead.

The Honeymoon is Over…And Keeping the Honeymoon Period Alive

Unless you are the sole screenwriter, producer, and director of the film, there will be collaborators with whom you must work. The truth is that a screenplay is the blueprint from which the director and producers create the film. That means that everyone has an idea, (good or bad) and a lot to say (good or bad), and tempers can flare (not so good), and egos can be hurt (really not good).

Collaborating on a screenplay and/or film can be inspiring and amazing, but it also can be very exasperating if you are not in sync with your writing partner or with the producer and/or director. Putting your cards on the table from the onset of your collaboration will avoid unpleasant surprises and hurt egos later on. Be forthcoming about your expectations and goals for both the script and the collaboration, and don’t shy away from asking your collaborator’s goals and expectations. Understanding the director and/or producers’ goals for the project you’ve written will improve your chances for a positive collaboration.

Susan’s TOP TIPS FOR SELLING YOUR SCREENPLAY

October 1, 2014 / sucity / Comments Off

The chances of selling a screenplay are a zillion to one. Maybe a billion to one? A million to one? Or — if you’re lucky, the math is in your favor and the chances are less than that. But yes, the odds are staggering.

The biggest and most important tip I can share with you is this — do not submit your screenplay unless it is absolutely brilliant. Seriously— if your script is not the absolute best it can be then your script will be rejected. Your screenplay is your calling card; it is your audition piece to gain entry into the film business. If you’re having doubts about the strength of your screenplay then it’s not ready to be submitted. Seek professional feedback from a screenplay consultant or industry professional. Keep in mind that if you ask a friend or family member, this person might not have the tools to determine a script’s strengths and weaknesses — and might not tell you the truth because — they don’t want to alienate you! The competition to get a script read by a film industry executive, let alone, having it be considered for production or even sold – are indeed staggering. Keep the odds in your favor.

Now that I’ve gotten the negative, depressing statistics out of the way, let’s look at the positive news. If you think outside of the proverbial box, you increase your chances of selling your screenplay.

Susan’s July Ask the Screenplay Doctor column: Twenty Questions: Are you really ready to submit your screenplay?

July 3, 2014 / sucity / Comments Off

Whether you are a first-time or professional screenwriter, the thrill of finally completing a screenplay is the same – absolute euphoria! But, let’s be honest for a moment and ask yourself the tough question: Is your screenplay really finished? Are you ready to submit it to the world because you are so tired of thinking and dreaming about it and believe that it’s “good enough” despite knowing another rewrite (or possibly two or more) is needed? If your answer is yes, then know that you are not alone.

What should you do next? Take a deep breath. And slowly exhale. If you are tired, bored, frustrated, or (fill in the adjective) of your screenplay—so will the agent, manager, producer, script competition reader, and all the film industry folks to whom you are submitting your project.

Before you submit your screenplay, get feedback from people who will tell you the truth and nothing but the truth. Giving it to people who might sugarcoat their critiques, such as family members, most likely want to remain on good terms with you, so this is probably not your best choice. Knowing what to ask when receiving feedback will help you stay focused and enable you to gain more objectivity with your screenplay.

20 Questions to Ask When Receiving Feedback

1. Is the genre clear and consistent throughout the script?

2. Does the dialogue ring true for each of my characters or does it feel interchangeable?

3. Is this script a page-turner?

4. Are my characters empathetic?

5. Does my plot make sense?

6. Are my main characters’ journeys clear?

7. What elements made the story engaging? Were there places you lost interest?

8. Do any of the characters need to be further developed?

9. Are there scenes that drag or ramble?

10. Is each scene advancing the plot forward?

SUSAN’S Top Tips to Finding a Good Script Consultant in Screenwriter’s Utopia

June 28, 2014 / sucity / Comments Off

Let me start by saying that in full disclosure — for over twenty-five years I have worked as a script consultant — first for studios and then as chairperson of my company Su-City Pictures East, LLC. I am often asked, and again recently asked (which inspired this article), why writers should hire a script consultant and what to ask when looking for one.

When working on a screenplay for weeks, months, and possibly years, many screenwriters become so close to their projects that they lose objectivity and are unable to see problems in their work. This is often the time a screenwriter might consider hiring a script consultant.

Submitting a script before it’s really ready to be considered jeopardizes your chances. Screenwriters generally have only one shot when submitting a script to a company and/or agent—once the script is rejected it’s nearly impossible to have the same script considered by the same company or agent even if you’ve done a brilliant rewrite. Film industry folks are inundated with material and the competition is fierce, so submit only your absolute best work.

Top Tips

Find out what projects the consultant has worked on, his/her professional background and accomplishments, and clients’ successes. Ask for references.
Choose someone with extensive industry experience and a solid track record.
You must feel comfortable, and you and the consultant should be a good match for you and your project. Trust your instincts.
A good consultant will offer objective feedback letting you know what the industry expects of your script and to what degree your script meets these expectations.
The consultant should provide a safe, non-threatening environment yet be honest, telling the screenwriter not just what he or she wants to hear but what he or she needs to hear.
The consultant should provide the necessary feedback and tools to make sure the script is ready to be submitted for consideration.
The consultant must have good communication skills and good attitude.
The consultant needs to listen and address the writers’ concerns and questions.
Many screenwriters receiving feedback feel very vulnerable and sensitive, so a good consultant should be mindful of this and of course, show respect for their clients’ work.

To Pitch or Not to Pitch? Top 10 Pitching Tips from Susan – the Screenplay Doctor

June 4, 2014 / sucity / Comments Off

A pitch is exactly what the word implies — it’s a sales pitch. And since this is the movie business, otherwise referred to as the film industry, it’s all about selling your idea. The pitch should summarize your script, engage your listeners, emotionally move them — to laugh, to cry — (for all the right reasons), and convince them to spend zillions of dollars to produce your project.

Knowing when and how to pitch can make or break your chances of having your project considered by film industry folks.

Question: Is it wise to pitch treatments without having the full script written?

Answer: Generally, the answer is no. When you have the opportunity to pitch your project to industry folks and they are intrigued by your idea, they’re not going to want to hear, “Well, glad you liked the pitch. I’ll send you the script when I’m finished.” It’s going to be hard to capture their attention again. It’s challenging enough to get attention from executives at a pitch festival or pitch meeting so I would advise on having the screenplay written. Before you pitch your project, make sure that you copyright it and register it with the Writers Guild of America www.wga.org.

Top Ten Pitching Tips

Depending on what has been requested, a pitch can be as short as a single sentence or as long as a few paragraphs or more.
Your pitch should follow your main character’s journey and major plot points. Highlight your protagonist’s goal and the major obstacles in his or her path, including the antagonist.
The genre must be clear and consistent.
The pitch should be an accurate reflection of your screenplay, including the style, tone, and plot.
A pitch meeting is like an audition. You’re selling yourself in terms of professionalism, not only your story.

Susan’s Ten Top Tips On Marketing Your Screenplay – The Script Lab

May 6, 2014 / sucity / Comments Off

Ten Top Tips On Marketing Your Screenplay

QUESTION: How do you capture a film executive’s attention?

ANSWER: Write a brilliant screenplay.

QUESTION: I wrote a brilliant screenplay. Now what?

ANSWER: Gain entry past the film industry gatekeepers. Here’s how…

1. Only submit your screenplay to a company when it has been requested.

2. Research companies producing in your genre and query them.

3. Learn the company’s script submission guidelines and follow them closely.

4. Use up-to-date resource directories. Development executives come and go; someone who is working at a company today may be gone tomorrow or may have a new position and title.

5. Write an attention-grabbing query letter that has the executive’s name and correct spelling. Do not address your query: To Whom It May Concern.

6. Write a scintillating one-page synopsis that accurately reflects your screenplay.

Ask the Screenplay Doctor: Breaking into the Biz

May 17, 2012 / sucity / Comments Off

Breaking into the Biz –

Now that you’ve got that diploma, what do you do with it to make those screenwriting dreams a reality?

You are about to don your cap and gown and receive your hard-earned diploma. A bright and exciting future awaits you. It’s time to step outside of the college/university bubble in which you have been protected and venture out into the business world, otherwise known as the film industry. Are you ready?

Tips for recent film and screenwriting graduates or those interested in breaking into the film biz…

Su-City Pictures East, LLC

Screenplay & Film Consulting By Susan Kouguell

Category: BUSINESS OF SCREENWRITING

Susan’s ‘SCREENPLAY SUBMISSIONS: Is Your Script Really Ready?’ for SCRIPT MAGAZINE

SCREENPLAY SUBMISSIONS: Is Your Script Really Ready?

What Producers are Really Thinking and Talking About (for SCRIPT MAGAZINE)

Highlights from the ‘Produced By New York 2015′ Conference